Fatima

Inside the image.

A vertically framed film poster, designed around a warm, slightly muted photograph of three women seated side by side. They fill the lower two-thirds of the composition, facing the viewer, with their heads arranged beneath the large title. The woman at left wears a pale beige headscarf with a muted pink edge and a loose beige outfit; the woman in the centre wears a dark green V-neck top and clasps her hands in her lap; the woman at right has long dark hair, a dark denim jacket over a pale top, and light brown trousers. Their expressions are composed and unsmiling. The centre figure sits slightly forward and is framed by the other two.

The women sit on simple chairs around a low, broad, dark round table or tray in the foreground. A small shallow vessel rests near its centre. The left chair has a visible dark frame and woven-looking seat; at right, the edge of a dark patterned seat is visible beneath the third woman. The photograph is cropped close around the group, with their legs and furniture continuing to the bottom edge. Behind them is a pale beige wall or backdrop with a fine repeating diamond-like pattern. Its light, relatively even surface contrasts with the darker clothes and hair. The image has a subdued palette of cream, sand, olive, charcoal, denim blue and brown, with soft, frontal light and gentle shadows around the figures and furniture.

Typography occupies the upper portion. A small line of bold, dark uppercase names runs across the top: “SORIA ZEROUAL ZITA HANROT KENZA NOAH AÏCHE”. Beneath it, the title “FATIMA” appears in very large, widely spaced, dark teal uppercase letters, spanning most of the poster width. A smaller centred line below reads “UN FILM DE PHILIPPE FAUCON”. Two short blocks of white review quotations sit above the women, one to either side of the centre: the left begins “« DIGNE ET TOUCHANT… »” and the right “« UNE ODE À TOUTES LES HÉROÏNES DU QUOTIDIEN »”; each has a much smaller attribution beneath. Near the bottom, several white festival and screening marks overlay the photograph and furniture, followed by dense lines of tiny white credits and a narrow strip of production and distributor marks along the lower edge. The poster has no distinct surrounding border. Its treatment is photographic, with the regular wall pattern and crisp, oversized lettering providing the main graphic structure.